Mr Eaves XL Narrow PDF

Mr Eaves XL Sans, Modern & Narrow

This XL version of Mr Eaves completes the fourth quadrant of the Mrs Eaves and Mr Eaves families.

Mr Eaves XL Sans features a larger x-height than Mr Eaves Sans with shorter ascenders and descenders and overall tighter spacing. Mr Eaves XL allows for a wide variety of uses and is perfectly suitable for lengthy text settings. The larger x-height also maintains superior readability at smaller point sizes.

Like the Sans, the XL Sans version relates most directly to the serif version, noticeably in the roman lower case letters a, e, and g, as well as in subtle details such as the angled lead-in strokes, the counter forms of the b, d, p, and q, and the flared leg of the capital R, and the tail of the Q.

The matching Modern family provides an overall less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look.

Mr Eaves XL Sans and XL Modern feature four weights with accompanying italics, small caps and alternate characters.

For more information about Mr Eaves XL Sans, Modern & Narrow, download the free type specimen.

Mr Eaves XL Sans & Modern Volume $499.00

Mr Eaves XL Sans & Modern Narrow Volume $499.00

Browser Limitations!

Current browsers only support a small number of OpenType features. The desktop version of this family includes:
• Small Caps • Alternates • Proportional Old Style Numbers • Proportional Lining Numbers • Tabular Old Style Numbers • Tabular Lining Numbers • Superior and Inferior Numbers • Numerator and Denominator • Arbitrary Fractions

Headline

A

A

Body-1

A

A

Body-2

A

A

Font features

All typography is an arrangement of elements in two dimensions. The right placing of words and lines is as important as the creation of significant and effective contrasts, and is an integral part of it. As type today stands by itself, without the addition of ornament, we have become more sensitive to it not only as words and lines, but as part of the design of a page. The sizes and weights of type used depend first and foremost on the contents, but almost always we have scope to choose a larger or smaller size or to alter the graphic appearance of some of the lines. A line need not be full out to the left but may be moved a little or a lot to the right. Here begins true design, the shaping of the graphic form.
Every shape exists only in relation to the space around it. The same line has a totally different effect in a large or small area of white space. In either case the line can be so placed to achieve the best effect; but the placing and its overall effect will probably be quite different in each case. It follows that there is a “right” position for every shape on every occasion. If we succeed in finding that position we have done our job.
Jan Tschichold, Basle 1935.

All typography is an arrangement of elements in two dimensions. The right placing of words and lines is as important as the creation of significant and effective contrasts, and is an integral part of it. As type today stands by itself, without the addition of ornament, we have become more sensitive to it not only as words and lines, but as part of the design of a page. The sizes and weights of type used depend first and foremost on the contents, but almost always we have scope to choose a larger or smaller size or to alter the graphic appearance of some of the lines. A line need not be full out to the left but may be moved a little or a lot to the right. Here begins true design, the shaping of the graphic form.
Every shape exists only in relation to the space around it. The same line has a totally different effect in a large or small area of white space. In either case the line can be so placed to achieve the best effect; but the placing and its overall effect will probably be quite different in each case. It follows that there is a “right” position for every shape on every occasion. If we succeed in finding that position we have done our job.
Jan Tschichold, Basle 1935.

About Emigre

Emigre, Inc. is a digital type foundry based in Berkeley, California. Founded in 1984, coinciding with the birth of the Macintosh computer, the Emigre team, consisting of Rudy VanderLans and Zuzana Licko, with the addition of Tim Starback in 1993, were among the early adaptors to the new technology. (More...)